Gardner, Percy: The principles of Greek art (London, 1924)

140

PRINCIPLES OF GREEK ART

CHAP.

over the upper part. This may be the result of the admiration
of athletic types; at any rate, it seems appropriate in a nation
in which physical development had the start of mental culti-
vation. In the fifth century something of this predominance
still survives in the Argive school. There the head, of which
the Doryphorus offers a good example (Fig. 31), when seen in

profile, is notably of
square outline, with
flat top and con-
siderable depth from
front to back. Again,
if the face be divided
into three parts by
lines passing through
the brows and the
bottom of the nose,
these parts in the
Argive head will be
found to be of nearly
equal height. If be-
side this head we
place one of char-
acteristic Attic type,
such as the Hermes
of Praxiteles (Fig.
32), it will be found to be less deep, and vaulted on the
top. And again, taking the three sections of the face, the
upper section will be found to be longer than the lower. The
Argive head has a more powerful framework, but the Attic
is distinctly more intellectual, whether the difference be caused
by original diversity of race or by long habit. In the fourth
century Scopas, to judge by the heads from Tegea, followed the
Peloponnesian outline, while the heads of Praxiteles are decid-
edly Attic in type. But both sculptors agreed in throwing

Fig. 32. —Hermes of Praxiteles.